細節
MATISSE, Henri-Emile-Benoit. Autograph letter signed (H.M.) to an unidentified correspondent ("My old friend," perhaps Andre Rouveyre?), Paris, 4 June 1946. 2 pages, several light stains, IN A FINE FRAME, blue-gray mat with image of Matisse's "La Polynésie, le ciel" (unexamined out of frame). In French.
A GOOD LETTER FROM THE PERIOD OF HIS "JAZZ". After an operation in 1941, Matisse turned to new media, including linocuts and paper cut-outs, and concentrated on drawing. Much of his creative energies were devoted to livres d'artiste which he designed and illustrated throughout the 1940s, including the monumental Jazz, published in 1947. Referring to one such project, Matisse writes: "Before sleeping, if possible, I want to tell you that I saw Taon this afternoon and that all went well. He no longer demanded the down payment that he was waiting for from me. He accepts my printer Féquet [Marthe Féquet and Pierre Baudier, who printed Matisse's Pasiphae linocuts in 1944] whom he will see tomorrow and thinks will move forward...He found a good pure white rag paper for printing the beautiful ladies and a very interesting paper that looks like white chine, a large-grain paper that I flattened with my lithographic stones, [to use] for the first-issue copies. He can't issue my volumes hors commerce because that would hurt the edition -- anyway he will number them..." (The preceeding may refer to the 1948 edition of Ronsard, Florilège des Amours, with Matisse lithographs). He continues "I am tired -- travel and people that I could not avoid having to see" and assures his friend: "all will be well if you take simple precautions..." In an initialled postscript, Matisse adds that "Taon spoke to me of the lithos of Apollinaire..."
A GOOD LETTER FROM THE PERIOD OF HIS "JAZZ". After an operation in 1941, Matisse turned to new media, including linocuts and paper cut-outs, and concentrated on drawing. Much of his creative energies were devoted to livres d'artiste which he designed and illustrated throughout the 1940s, including the monumental Jazz, published in 1947. Referring to one such project, Matisse writes: "Before sleeping, if possible, I want to tell you that I saw Taon this afternoon and that all went well. He no longer demanded the down payment that he was waiting for from me. He accepts my printer Féquet [Marthe Féquet and Pierre Baudier, who printed Matisse's Pasiphae linocuts in 1944] whom he will see tomorrow and thinks will move forward...He found a good pure white rag paper for printing the beautiful ladies and a very interesting paper that looks like white chine, a large-grain paper that I flattened with my lithographic stones, [to use] for the first-issue copies. He can't issue my volumes hors commerce because that would hurt the edition -- anyway he will number them..." (The preceeding may refer to the 1948 edition of Ronsard, Florilège des Amours, with Matisse lithographs). He continues "I am tired -- travel and people that I could not avoid having to see" and assures his friend: "all will be well if you take simple precautions..." In an initialled postscript, Matisse adds that "Taon spoke to me of the lithos of Apollinaire..."